{"id":224033,"date":"2021-12-02T05:45:35","date_gmt":"2021-12-02T00:15:35","guid":{"rendered":"https:\/\/www.colombotelegraph.com\/?p=224033"},"modified":"2021-12-07T05:39:51","modified_gmt":"2021-12-07T00:09:51","slug":"imperialism-ideology-art","status":"publish","type":"post","link":"https:\/\/www.colombotelegraph.com\/index.php\/imperialism-ideology-art\/","title":{"rendered":"Imperialism, Ideology &#038; Art"},"content":{"rendered":"<p class=\"p1\"><span style=\"color: #ff6600;\"><strong>By\u00a0<a style=\"color: #ff6600;\" href=\"https:\/\/www.colombotelegraph.com\/?s=Charles+Ponnuthurai+Sarvan\">Charles Ponnuthurai Sarvan<\/a>\u00a0\u2013<\/strong><\/span><\/p>\n<div id=\"attachment_220802\" style=\"width: 160px\" class=\"wp-caption alignright\"><a href=\"https:\/\/www.colombotelegraph.com\/index.php\/religion-politics-morality\/professor-charles-sarvan\/\" rel=\"attachment wp-att-220802\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-220802\" class=\"size-thumbnail wp-image-220802\" src=\"https:\/\/www.colombotelegraph.com\/wp-content\/uploads\/2021\/07\/Professor-Charles-Sarvan-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" srcset=\"https:\/\/www.colombotelegraph.com\/wp-content\/uploads\/2021\/07\/Professor-Charles-Sarvan-150x150.jpg 150w, https:\/\/www.colombotelegraph.com\/wp-content\/uploads\/2021\/07\/Professor-Charles-Sarvan-45x45.jpg 45w, https:\/\/www.colombotelegraph.com\/wp-content\/uploads\/2021\/07\/Professor-Charles-Sarvan.jpg 200w\" sizes=\"auto, (max-width: 150px) 100vw, 150px\" \/><\/a><p id=\"caption-attachment-220802\" class=\"wp-caption-text\">Prof Charles Sarvan<\/p><\/div>\n<p class=\"p3\"><span class=\"s1\">The ballet \u2018Adam and Eve\u2019, a short sketch, depicts in dance the Biblical \u2018fall\u2019 of Adam and Eve into temptation, and the consequence of that \u2018Original Sin\u2019. The opening lines of Milton\u2019s epic poem, \u2018Paradise Lost\u2019, declare that it will be about humanity\u2019s first disobedience, a disobedience that brought \u201call our woe\u201d. The ballet is simple, one would say na\u00efve and simplistic, but not without interest. The transgression of Adam and Eve led to such misery as humanity has endured over the centuries. (In Buddhism and Hinduism, present suffering is not due to ancestral sin in the distant past but is the consequence of one\u2019s own misdeeds in an earlier existence though, unfortunately, we have no knowledge at all of that previous birth.) Whether generations of human beings should suffer for the one sin of their distant ancestors, leads to theology: an area that is terra incognita to me. I here merely share some thoughts arising from seeing this ballet. It\u2019s up to the reader to agree, modify or disagree and reject.<\/span><\/p>\n<!--[if lt IE 9]><script>document.createElement('video');<\/script><![endif]-->\n\t<div class=\"wp-playlist wp-video-playlist wp-playlist-light\">\n\t\t<video controls=\"controls\" preload=\"none\" width=\"1038\"\n\t\t height=\"1038\"\t><\/video>\n\t<div class=\"wp-playlist-next\"><\/div>\n\t<div class=\"wp-playlist-prev\"><\/div>\n\t<noscript>\n\t<ol>\n\t\t<li><a href='https:\/\/www.colombotelegraph.com\/wp-content\/uploads\/2021\/12\/Une-pure-merveille._.2_01.mp4'>Une pure merveille._.2_01<\/a><\/li>\t<\/ol>\n\t<\/noscript>\n\t<script type=\"application\/json\" class=\"wp-playlist-script\">{\"type\":\"video\",\"tracklist\":true,\"tracknumbers\":true,\"images\":true,\"artists\":true,\"tracks\":[{\"src\":\"https:\\\/\\\/www.colombotelegraph.com\\\/wp-content\\\/uploads\\\/2021\\\/12\\\/Une-pure-merveille._.2_01.mp4\",\"type\":\"video\\\/mp4\",\"title\":\"Une pure merveille._.2_01\",\"caption\":\"\",\"description\":\"\",\"meta\":{\"length_formatted\":\"1:44\"},\"dimensions\":{\"original\":{\"width\":640,\"height\":640},\"resized\":{\"width\":1038,\"height\":1038}},\"image\":{\"src\":\"https:\\\/\\\/www.colombotelegraph.com\\\/wp-includes\\\/images\\\/media\\\/video.svg\",\"width\":48,\"height\":64},\"thumb\":{\"src\":\"https:\\\/\\\/www.colombotelegraph.com\\\/wp-includes\\\/images\\\/media\\\/video.svg\",\"width\":48,\"height\":64}}]}<\/script>\n<\/div>\n\t\n<p class=\"p4\"><span class=\"s1\">In what follows, I use the conventional but inaccurate division into \u2018white\u2019 and (all those who are not white) \u2018black\u2019. The paper we write on is white: there are no white people. \u201cThe so-called white races are really pinko-grey\u201d: E M Forster,<span class=\"Apple-converted-space\">\u00a0 <\/span><\/span><span class=\"s2\">\u2018<i>A Passage to India\u2019<\/i> <\/span><span class=\"s1\">(1924). <\/span><span class=\"s3\">Jeffrey Boakye, in his \u2018<\/span><span class=\"s2\"><i>Black Listed\u2019<\/i> <\/span><span class=\"s3\">offers \u201cpinkish beige\u201d.<\/span> <span class=\"s3\">No matter how dark my skin is, it is not black (Boakye).<\/span><span class=\"s1\"> In this ballet, Adam and Eve are white while the negative forces unleashed are all African. What\u2019s more, they are Africans of past representation: savage, atavistic, lusting to possess white female bodies. This last motif was seized upon, deepened and spread by the Ku Klux Klan, with horrific consequences for African American men, youths and even boys. That powerful and poisonous silent film of 1915, \u2018The Birth of a Nation\u2019 (original title: \u2018The Clansman\u2019), comes to mind. In these times of token, or at least pretended, \u2018political correctness\u2019, the ballet is surprising.<\/span><\/p>\n<p class=\"p3\"><span class=\"s1\"> By way of an analogy, I turn to language. In 1887, Polish Zamenhof constructed Esperanto and hoped it would become the world\u2019s auxiliary language: the word Esperato is derived from \u201cone who hopes\u201d. Though Esperanto did not gain anything like the currency its creator had hoped for, today in the English language, we have a living Esperanto. One no longer refers to \u2018native speakers\u2019 but to the \u2018first language\u2019 of a person or group.<span class=\"Apple-converted-space\">\u00a0 <\/span>By \u2018first\u2019 in this context is meant not biographical chronology but that language in which a person is best able to express herself. (Bilinguals do so in two languages.) Seen in this light, English is the first language for many in many different parts of the world. Christianity is a world religion, and no one country or people should claim special rights and status over it. Similarly, if English today is the world\u2019s language then, contrary to what is claimed (and often obtains) no one variety should lay claim to authenticity and superiority. (Unfortunately, \u201cEnglish\u201d refers both to a people and to a language. Indians don\u2019t speak a language known as Indian etc.) Besides, not all so-called \u2018native speakers\u2019 have native-speaker competence in the language. <\/span><span class=\"s3\">As one who once lived in England and still is a British citizen; as one who has taught English in England, I know this at first-hand. The insecurity and inferiority expressed in James Joyce\u2019s <\/span><span class=\"s2\">\u2018<i>A Portrait of the Artist as a Young Man\u2019<\/i> <\/span><span class=\"s3\">&#8211; \u201cThe language in which we are speaking is his before it is mine\u201d \u2013 is now mostly gone. Chinua Achebe in his essay \u2018The African Writer and the English Language\u2019 was emphatic that he did not want to write like a native speaker: he wanted to write like an African, a Nigerian. \u201cThe price a world language must be prepared to pay is submission to many different kinds of use\u201d (ibid). In another essay, titled \u2018Colonialist criticism\u2019, Achebe wrote: Let every people bring their gifts, and humankind \u201cwill be all the richer for the variety and distinctiveness of the offerings\u201d. Yet some varieties of English are regarded as being superior: (a) on non-linguistic grounds and (b) even by those who do not speak that \u2018superior\u2019 variety. Turning yet again to Achebe, in the essay, \u2018The novelist as teacher\u2019, he writes that if he were God, he would regard it as the worst of sins the acceptance and internalisation of inferiority (by the non-white world). <\/span><\/p>\n<p class=\"p5\"><span class=\"s1\">English is the world\u2019s lingua franca because it was the language of an imperial and colonising power. Earlier, it was Latin, the language of imperial Rome, and scholars in Europe wrote and corresponded with each other in Latin. For example, Thomas More\u2019s \u2018<\/span><span class=\"s2\"><i>Utopia\u2019<\/i> <\/span><span class=\"s1\">(1516) was written in Latin.<\/span><span class=\"s4\"><span class=\"Apple-converted-space\">\u00a0 <\/span><\/span><span class=\"s1\">And, as with language, so too with religion and colour. <\/span><span class=\"s3\">\u201c<\/span><span class=\"s1\">Christianity, the religion of a small group in an obscure part of the Roman Empire, became a world religion when persecution shaded into toleration and, finally, to conversion: imperial Roman territories followed suit with the Emperor Augustine sending Christian missionaries to England in 597 CE\u201d (Sarvan, \u2018The English Language\u2019, Colombo Telegraph, 7 August 2019). Christ and his disciples were Jews but the religion was taken over and spread by the imperial West, particularly by Britain, France and, in South America, Spain. In short, Christianity was brought to the non-Western world as a Western, white religion. (The situation is now different, and there are instances of non-Westerners doing missionary work in the West, exporting what was originally imported.) The Bible tells us: \u201c<\/span><span class=\"s3\">God created man in his own image, in the image of God created he him; male and female created he them.\u201d Though there are many \u201cimages\u201d of humanity, the Christian image of god was white. (In representations of the Buddha in colour, he is invariably white.) For example, a casual search in Google will yield many representations of the Virgin Mary. Particularly in Renaissance and Baroque art, she is often \u2018pure\u2019 white, has blond hair and blue eyes. The Virgin was made European, and there is little trace, if any, of her Jewish, Middle Eastern, origin. In a thought-provoking short story, \u2018The Black Madonna\u2019, Doris Lessing relates how an Italian prisoner-of-war in Africa does otherwise in what he creates. He argues that the Virgin was a peasant: \u201cThis is a peasant. Black Madonna for black country\u201d. God created man in his image and, in turn, Europeans created God in their (white) image. Having done so, they used that identification to bolster and project their conviction of superiority. Technological and military superiority was taken also to mean moral and spiritual superiority. Though we all originated in Africa, it was thought that white was the norm, the default setting, to use computer jargon. Non-white peoples did not have the confidence and courage to picture god in their image (as white people had done and do). Even as god had made them in his image, non-white people did not make god in their image. On the contrary, accepting the valuation of the West, non-white people built a hierarchy based on degrees of pigmentation. Lighter-skinned folk looked down upon those who were darker. Vijay Prashard, in <\/span><span class=\"s2\">\u2018<i>The Karma of<\/i> <i>Brown Folk\u2019<\/i> <\/span><span class=\"s3\">writes of his fellow Asians in the USA distancing themselves from Africans in an attempt to gain acceptance from white America. They do not think that \u201cBlack is beautiful\u201d.<\/span><\/p>\n<p class=\"p4\"><span class=\"s1\">This ballet, \u2018Adam and Eve\u2019, perhaps unwittingly, reinforces prejudices one had hoped were of the past. However, the final scene is of \u2018white\u2019 Eve being rescued from the \u2018black\u2019 Africans by an enigmatic angel: male, with glowing white wings. As far as I can make out, the angel is neither fully white nor fully black. Whether thematic significance is intended here in the ambiguity, in the \u2018neither nor\u2019 of the figure and, if so, what it could mean, I leave to the reader.<\/span><\/p>\n<p class=\"p4\"><span class=\"s1\">I end by returning to words in my very first paragraph \u2013 \u201csuch misery as humanity has endured over the centuries\u201d \u2013 and with a thought from the novel \u2018<\/span><span class=\"s2\"><i>Disquiet\u2019<\/i> <\/span><span class=\"s1\">by the Turkish writer Z\u00fclf\u00fc Livaneli. (I thank my friend, Professor John Hillis, for drawing attention to this work.)<span class=\"Apple-converted-space\">\u00a0 <\/span>The \u2018narrative voice\u2019 in the novel suggests that the gods, having done the work of creation, are tired and take their rest: that is why humanity\u2019s cries of pain and distress over the centuries have gone unheard and unheeded. Excluding ancient myths and stories, no \u2018deus ex machina\u2019 has ever made an appearance and rescued a folk, a people or a population group. Much of humanity\u2019s suffering and sorrow has been (and is) caused by human beings. Ipso facto, alleviation and healing must come from us &#8211; and not from God or the gods. No one else but we must cure the negatives that we ourselves have created, and still create.<span class=\"Apple-converted-space\">\u00a0 <\/span>But human nature has not changed in essentials over the centuries. Racism and its hatreds; the cruelty of self-righteous religious fanaticism; greed and its selfishness, and other evils remain undiminished. There are no grounds to believe that things will change for the better; no cause for optimism. To ironically and sadly misapply words from doxology: \u201cAs it was in the beginning, is now and ever shall be\u201d. Yet we are forced to make the effort, if not to cure, then to lessen: there\u2019s honour in fighting to the end in the face of certain failure and defeat.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p> [&hellip;]<\/p>\n","protected":false},"author":101,"featured_media":224037,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[3,46,8],"tags":[],"class_list":["post-224033","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-colombotelegraph","category-constitutional-reforms","category-editorial"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.3 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Imperialism, Ideology &amp; Art - Colombo Telegraph<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.colombotelegraph.com\/index.php\/imperialism-ideology-art\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Imperialism, Ideology &amp; 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